The Odyssey is a globalist provocation. By Mark Lopez at Quadrant.

From the moment a black actor loudly rammed his staff on the floor of a great dining hall in Ithaka, signalling the beginning of the film, my heart sank. This much anticipated film, Odyssey, was to be a Diversity, Equity, Inclusion (DEI ) movie and the writer-director-producer Christopher Nolan wants us to know this from the outset.

The casting was more than irritating, it was demoralising, so much so that I was not able to ignore it and lose myself in the story unfolding n the screen. Had this flick been made in Australia, I’m sure it would have begun with a Welcome to Country.

Nolan’s film is the kind of provocation that the politically correct love. They ideologically misrepresent dimensions of our culture, challenging us to accept what they have done because to express antagonism at being poked with a sharp stick is to fall into their carefully laid trap, leaving oneself open to being called ‘racist’.

So, from the outset, I had to watch Bronze Age Greeks and their gods played by a United Nations panoply of Africans, Asians, mixed-race individuals, and Europeans, hardly any of whom looked Greek. It felt like an insult to European culture and literature and to those like me who value it. …

At least I did not have to endure seeing a Greek warrior played by a man with a nose ring and a man bun. But, then again, the warrior Sinon is played by Elliot Page, a biological woman who recently re-identified as ‘male’. This is yet another carefully set trip wire. Criticise this travesti travesty and you’ll be derided as ‘transphobic’.